Working with Red camera footage

I brought a frame from some Red footage into Photoshop CS6, and I used the Spot Healing Brush to paint out something. I added something else back to that frame, now need to bring that footage into After Effects CS6. When I bring in the resulting PSD into AE, the color is completely wrong. There is no option to Export or Save as REDCODE RAW, so...... ?

I would check on the Red forum for color settings for your workflow.
The other option would be to transcode the footage to something other than RedCode RAW and go from there with a different color space.

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Trouble with Red Camera project

Hello again ...
I am trying to edit a project with some very nice Red footage. Resolution of the Red RAW footage is 4,096 x 2,304. The project is a medium complex project, I would say. It has the raw footage, shot on greenscreen, with the following effects and layers:
1. Talent was masked, keyed and color corrected in PPro. I tried to export to AE using a Dynamic link but that was a quick fail. It got hopelessly confused and wouldn't work correctly (it would crash, convert all clips to the first clip, etc.). I love Dynamic Link and use it all the time with our Panasonic 170 footage, but the large size of the Red files seems to cause problems.
So, we got really good at keying in PPro.
2. We then used that sequence as a track in a second sequence, where we dropped in the background and a reflection layer. We also did light wrap using Digieffects Delerium 2 plugin.
Here is a screen capture of a sample frame:
Before I describe the current problem, let me describe my computer:
Intel Core i7 950 @ 3.07 Ghz
24GB RAM
Windows 7 64
System drive is a 4GB SATA drive (not RAID)
Project drive is a 8 x 2 TB SATA tower. RAID 10. Sustained data rate is roughly 225MB/second
NVidia GTX 285 4GB ram
We are running MPE successfully
SO ... what is our problem?
1. Very slow timeline editing. How slow? Well, I have been editing on PCs for 15 years and this is as slow as I have ever seen. If you click to a different part of the timeline it just sits. Half the time it doesn't change the display. Sometimes it does.
2. Dynamic link doesn't work (see above).
3. Previews take roughly 1 hour per 15 seconds of timeline to render. The project is 2 minutes, so that means it takes 8 hours to render previews. At 1/2 quality. Yikes!
4. It will not render in Media Encoder. It crashes after about 6 to 8 minutes.
What am I doing wrong? Is this a known problem? Is this just too much to ask of PPro? Should I first have a professional house transcode the Red RAW down to 1080P?
Thanks!

I'll agree with Jim on this... my system is identical to his, except that I've got a GTX285 instead of the 470 for graphics. I can edit 4K (and even 4.5K) RED RAW files smooth as butter on my system. I do have to keep my playback resolution down at 1/2-1/4 to get smooth playback, but it is definitely smooth at that. I'm not using any of the real big fancy third-party plugins, but I have done a good bit with multiple layers of the three-way CC, Levels, and much more... And I've got several tracks of video with interviews, b-roll, etc, so rather complex timelines. I experience no issues at all with working with RED RAW footage, so I can vouch for the fact that it's not Premiere... sounds like something specific to your system or your workflow.
I would agree with the advice given above to key in AE first and then bring it in to PrPro that way. Sounds to me also like you might have a memory issue--are you running other programs along with PrPro when doing this? Perhaps have a bad stick of RAM in there somewhere?

Since Prelude doesn't work with Red footage, how can I add logging info to a file in Premiere Pro

Since Prelude doesn't work with Red footage, how can I add logging info to a file in Premiere Pro CS6?

RED footage has a restriction on metadata. We are looking into what it would take to get full metadata support into our system, but you cannot tag red footage at this time.

Can I use Red Cam footage in FCE4

An actor friend of mine has shot a short film with a Red Cam and wants me to edit it. I assume I'll have to convert it, but can I bring that footage into FCE4, and if so what codec should I use? And how do I convert it, what program should be used. When I'm finished editing what codec should I use to export it. He wants to enter this film in some festivals so we want the quality to be as good as possible. How will the finished exported quality compare to the original Red Cam footage? I assume there will be a quality loss, but how much? And are there any other issues I should be aware of? Thanks very much--jqs

I don't know whether it will work with some sort of workflow that substitutes AIC foor Pro Res or not. I referred you to the FCP article so you would see there are a number of moving parts involved. Although I don't know of FCE users editing RED, that's not to say it can't be done. Try some work-arounds and see (and let us know). Alternatively If you know someone with FCP, possibly they would allow you to cut it on their system?
Good luck.
Russ
BTW, I don't think it's possible to unmark this question as solved. If you're not getting views because people assume it's closed, you could always post another question.

Working with RED- troubleshooting

Hi folks.... new to forums... would appreciate any assistance....
So I'm working with Red footage in color and I notice that if I link to red media more than once for a given clip, the preview of the footage gets smaller and smaller. How can I fix it so that's it normal size? When I send the xml to final cut I can rescale the footage so it looks normal, but I'm scaling more than a 100%. Any solutions?
There was also a clip or two that rendered as a frozen image.
I don't know color that well as it is the first time I am using it for a project. I am using it on my macbookpro and of course also do not have the recommended screen resolution.
Any assistance would be appreciated.

No idea what's going on with the preview, but as for frozen clips...
search for Colorfixer.
jPo

Hi. Quick question I am working with Panasonic GH3 footage and it is playing back in slow motion?

Hi. Quick question I am working with Panasonic GH3 footage shot using .MOV wrapper with their IPB 50mbps and All-Intra 72MBPS codecs and they are playing back in slow motion in Sg CC. The footage works fine in PP CC and I have no clue on how to fix it. Is this a bug or do I a have a setting wrong some place?

Yes it turns red this is silly PP and AE have no problem with playback for these codecs. So it is indeed Sg not handling the codec correctly and not my system?
What if I transcoded it to something else other than the previous what would you reccommend?
I was going to transcode to ProRes but 5DtoRGB does not work on Windows with GH3 codecs.
What is the correct time warp seting under clip properties? I screwed with it and forgot the default setting.
Is there a way to reset Sg back to defaults settings globaly. I tried to many settings trying to fix the playback and may have left something in the wrong state.
Thanks...

FAQ: Will Lightroom work with my camera, or Why won't my raw files open?

What is a raw file?
A raw file is the unprocessed data that was captured by your camera sensor when you took your picture. The only settings on your camera that apply to this file are aperture, shutter speed, and ISO. This means that any effects you may have applied to the file, such as white balance or black and white, may not appear in Lightroom. Your camera will create a JPEG copy of your raw file with all current settings applied and save that within the raw file for use as a thumbnail by most applications. When you first view a raw file in Lightroom, you will see this thumbnail, then Lightroom will read the raw data and create its own thumbnail, which may have a different appearance.
How does Lightroom work with raw camera files?
Lightroom interprets the raw data and makes image information out of it. But every camera has a unique sensor and thus has a unique form of raw file. Even though camera manufactures may use the same file extension each time (e.g. Nikon raw files are always .NEF), each camera model has a different way of storing information. Because of this, we must continually update Lightroom for new cameras. As we add new cameras to the list (over 300 now) we update our published list of supported cameras.
Will the raw files from my camera work with Lightroom?
To determine whether your camera is supported by Lightroom, check this list:
Supported cameras
Go to Help > Updates to install the latest release. You can also manually download and install Lightroom updates:
Macintosh
Windows
What if I own a previous version of Lightroom?
Supposing you have a camera that came out after the release of a newer version of Lightroom, so that your version of Elements is no longer recieving updates, you have two basic options:
Purchase the latest version of Lightroom that supports your camera.
Use the latest version of the free DNG Converter (for Macintosh or Windows)
You can convert your files to the universaly compatible DNG format (the files will work with any version of the Lightroom). See In depth : Digital Negative (DNG) for more information.
For more assistance on DNG:
Adobe TV - The Advantages of the DNG File Format
Adobe TV - On Using DNG in Lightroom
Adobe TV - DNG Enhancements in Lightroom 4
Can I perform tethered capture from my camera to Lightroom?
Lightroom has the ability to automatically import images from your camera, as you shoot, life. To learn more about setting up and useing tethered capture, please see Import photos from a tethered camera. This list shows all the cameras that Lightroom supports for tethered shoooting:
Tethered camera support | Lightroom 4, 3
Use this document if you run into trouble when performing tethered shooting:
Troubleshoot tethered capture | Lightroom 4, 3
For more assistance on Tethered Shooting:
Adobe TV - Import photos from a tethered camera
Will Lightroom help me automatically compensate for the image distortion caused by my camera lens?
The Develop module of Lightroom includes Lens Correction which can read what lens was used from the metadata. With this information it can pick a profile that will reduce distortion caused by the curvature of the lens. For a list of which lenses are supported by which camera bodies, see this list:
Lens profile support | Lightroom 4, 3
If your lens is not currently supported, you have a few options:
Apply the lens correction manually
Use the Adobe Lens Profile Downloader (Download: Mac, Win) to see if someone else has created a profile your camera and lens
Use the Adobe Lens Profile Creator (Download: Mac, Win) to make your own profile for your camera and lens.
For more assistance on Lens Profile Corrections:
Adobe TV - Lens Correction & Perspective Correction
Adobe TV - Create Stunning Images
Adobe TV - Correcting Perspective
Adobe TV - Apply Lens Corrections
Julieanne Kost's Blog - Lens Correction Profiles
Additional resources
For more information about Adobe Camera Raw, please check these links:
Troubleshoot Camera Raw
Why doesn’t my version of Photoshop or Lightroom support my camera?
In depth: Camera Raw
Lightroom Jourrnal (developers blog) about Camera Raw releases
Julieanne Kost's Camera Raw video tutorials
Adobe Camera Raw turns 10

Yes, junky thumb drives pour like rain. Verify same with another or a good thumb drive.
Whats the format of the USB stick?
Use Sandisk or other reliable drives.

Working with 30 Camera angles in multicam sequence, best workflow, too many cams for system to play all at once

Working with 30 Camera angles in multicam sequence, best workflow, too many cams for system to play all at once

Get a halfway decent system, something like:

Elements 13 won't work with new camera, it won't update to raw 8.7.1

Elements 13 won't work with new camera, it won't update to raw 8.7.1. I have downloaded the patch, it is installed but the old version is this there in elements. Thanks, esther

OK I think the problem is probably related to the platform swap and you may need your account re-set. Only Adobe staff can do that. You need to contact Adobe directly using the link below. Use the dropdown menu for boxes (1) & (2) to scroll down the list and choose:
1. Adobe Photoshop Elements
2. Adobe ID, and signing-in
3. Click on the blue button: Still need help? Contact us – then click the area marked chat 24/7, then click “start chat ”
It’s usually possible to start a live chat, if an Adobe agent is free, and often to get the problem fixed right away. Have your serial number and previous case number available. The agent can directly troubleshoot your system if you agree to activate the Adobe Connect add-on.
Click here to get help now Contact Customer Care

Working with two cams

I have shots from two cams which I am preparing to capture into Adobe Premiere.
I know there's a way to work with two cams-monitoring, but is it the case when capturing ?
I am capturing via Firewire. My card has more than one slot - so guess I can plug-in two cams at same time. But can I A/B between the two cams prior to capture (record) into Adobe ?
Or is the multiple cam into Adobe only for ''already captured'' shots ?
Thanks,
Rob

You need to capture the data streams separately (not simultaneously)

Importing RED camera footage into CS4

I've downloaded a plug in for CS4 and all the other RED camera footage imported in fine (9 out of 10 files) expect for the last file. Here's a picture of the file names:
When I try to import these files (either through file > import) or Media Browser I get the message that the file format is not supported. Does anybody have any idea of what I could do?
Thanks!

Robodog2,
I finally got back to my office and was able to send JIm a screenshot of the issue as the file was too big to send (1GB).
The file marked A010_C001_10172V_001.R3D is the one that should import into Premiere Cs4 but as you can tell from the screen shot above, it will not.
Any help will be appreciated.
-Dave

Working with Cannon 5D Footage. Compress or Raw?

Just started working with both Cannon 5D Mark III and editing in Premiere. I know with FCP it was best to compress to Apple ProRes to work with files (even though they doubled in size). Any compression setting suggestions for working with 5D footage without a loss of quality and/or stuttering play back in Premiere?

You can work with the 5D footage natively in Premiere, if your hardware can keep up with the big demand on the CPU. I am on a MacPro 8 Core system, and I have no trouble playing back the H.264 from the 5D in full resolution on CS6. When I worked in CS5.5, I did have to transcode to ProRes first, since CS5.5 on the Mac did not play H.264 very well. Create a matched sequence by dropping a 5D clip on the "New Sequence" icon.
If you are on a slower machine, try reducing the playback resolution to get real-time playback, although that doesn't always work well with the high CPU intense material such as H.264. If all else fails, go back to your original workflow and transcode to ProRes and you will have no problem.
Good luck.

HELP PLEASE! I am working with GH4 4k footage in adobe preimere and the computer keeps freezing... any ideas?

HELP PLEASE! I am working with GH4 4k footage in adobe preimere and the computer keeps freezing... any ideas?

Thanks for your response. I'm sorry for the lack of details, but posting a question on this forum is completly new to me, so I guess I am learning how it works.
I have to be honest, I am a novice to video editing, but I am here to learn so I will provide all the info I know and please let me know if it is enough...
I filmed my first feature film on a Panasonic GH4. We filmed in 4k (compressed files). I am about 900 GB of total files for all the footage. I am currently editing on a 17' Toshiba Satellite i7 with 750 GB of space and I believe 8 gb of ram. All of the footage for the film is not on the computer, but stored on a 1 TB external hardrive (Rugged Lacie is the name of the hard drive). I am using a usb 3.0 from the hard drive to the computer.
I actually was able to get through about 17 mins of edits for the film before I started to experiencing the computer completely freezing up on me. I tried using a different hard drive, and same issue. A friend mentioned it might just be the computer is not powerful enough to edit all the footage, but he wasn't for sure considering the computer is less than a year old and is on the higher end for a toshiba.
I am requesting advice on how to continue editing the film without the computer crashing if that is even possible with using the same computer. If not what would be my options?
Thank you!

I cant upgrade camera raw and need to to be able to work with new camera files why?

i cant upgrade camera raw and need to to be able to work with new camera files why?

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    * Adobe product and version number
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    * The full text of any error message(s)
    * What you were doing when the problem occurred
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I'm working with MXF XAVCi footage shot in S-Log on a Sony FS7

I'm working with MXF XAVCi footage shot in S-Log on a Sony FS7 - Can anyone tell what the optimum sequence settings are for premiere pro CC. I'm editing then doing a round trip into DaVinci. Currently settings are AVC - Intra 100 1080p.
Many thanks

Frankly, your best bet would probably be to recapture from the source into FCP. Alternatively you could export the files from the Avid directly as Quicktime Movie files instead of taking the raw MXF's.
Options for working directly with the MXF's include:
http://www.calibratedsoftware.com/MXFImportQ_OSX.html ( USD 60 )
http://mxf4mac.com/products/mfx4qt/#mxf4qt_import ( EURO 399 )
http://dvfilm.com/raylight/mac/index.htm ( USD 195 )
but I have no info as to whether these would enable you to work directly with an AVID MXF

Working with Red camera footage

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